The 14th edition of the Montréal Underground Film Festival (MUFF) hits the screens over a three-day period from May 24 to 26, 2019. This year, the MUFF collective has selected the 57 finest and most innovative shorts from submissions by local and international artists. Our 14th opening night party and program will take place at Brasserie Beaubien (73 Beaubien E, Montréal) on May 24th at 7.30pm (screenings at 8pm), featuring two programs of films representative of the fest at large.
Friday, May 24, 2019 (All day) to Sunday, May 26, 2019 (All day)
Curated by Petra Belç and Kaya Erdinç, the evening explores the works of Yugoslav (amateur) filmmakers who participated in the 1960s Genre Film Festival (GEFF), an experimental arts festival taking place in Zagreb. GEFF was initiated by a series of discussions under the aegis “Antifilm and Us” taking place in the Ciné-club Zagreb. With each new edition, the festival pushed the liberatory and the exploratory potential of cinema to the limit. Everything was allowed, and everything was questioned. The rules had to be broken as the organizers searched for a new vision of the world. Taking cues from the (un)realized performative ideas of the organizers and the structure of GEFF’s programme, Belç and Erdinç will revive its intentions and explore the existing possibilities of their deeply revolutionary and humanist vision.
As part of the series Science on Screen, on Friday, May 31 the Museum of the Moving Image will present a rare showcase of films connected to the origins of the popular laser light show that began at the Griffith Observatory in 1973. Spanning 1921 to 2015, this program presents films made with paint, kinetic sculpture, animation, and lasers by abstract film pioneers Jordan Belson, Walter Ruttmann, Thomas Wilfred, and light show pioneers Ivan Dryer and Joshua White.
The Mostra del Cinema di Genova is devoted to cinema as an art form. We will privilege, in our selection, films with a poetic or visionary value, experimental and thought provoking films, avant-garde works and innovative languages. Equal importance will be given to fiction and non-fiction works, to features and shorts, and the festival’s Grand Prix, dedicated to Eadweard Muybridge (Grand Prix Pigeon Flying, Plate 755, 2500 euros cash prize) will be assigned to the Best Film, regardless of genre, duration and theme.
Christopher Harris’s films often examine geographic space as a locus for competing layers of representation and perception. still/here (2000) is a meditation on the vast landscape of ruins and vacant lots that constitute the north side of St. Louis, Missouri, an area populated almost exclusively by working-class and working poor African Americans. The film explores the vestiges of a once-thriving community through evocative imagery of derelict cinemas, fading billboards, and abandoned domestic spaces, asking the viewer to reflect on the causes of this decay.
Arthur Cantrill and Corinne Cantrill (born in Sydney, Australia, in 1938 and 1928 respectively) have made more than a hundred films since 1960. Their work covers different forms and genres: documentary, experimental cinema, expanded cinema, performance and sound art. They meet in the late fifties in Brisbane and since then they share a long and prolific personal and artistic relationship.